Portugal, Color, 175′, Dolby Digital, 1:1:66
João Vuvu, a widower with no family, except for a son who is serving time for dual murder and armed bank robbery, lives alone in his house, large, sunny house that shows signs of wealth in an old neighbourhood of Lisbon located at the foot of Monte Olivete. João is not very sociable, fit at all, and every day takes a trip on a bus number 100, untiringly repeating the same route: going up from Praça das Flores to the Principe Real garden and going down to his starting point and subsequent return home. Only a few occasional incidents may episodically alter this daily routine that seems to correspond to the protagonist’s desire for isolation, to his assuming of an exile that makes him relapse into any social intercourse. The house, where records and books are João Vuvu’s only company, starts to urgently require the services of cleaning lady who, at least possessing the minimum qualifications necessary, never turns up. When his son gets out of prison, the deception that his desire for regeneration provokes in his father will unleash a series of sombre events in which the protagonist’s criminal inclinations come to the fore and condemn him to a destiny that is definitively that of an outlaw and as marginal figure.